November 29, 2012

Why to start your novel inside-out

Author and agent Chuck Sambuchino recently made an important
observation about modern novels: they should start inside and go out. In other
words, you start with a character and his or her actions and thoughts, and then
place them in a setting.

Many of the great novels—from a time when readers had more
time or at least more patience—started outside and then went into a character.
You’d have several pages of description of the landscape, the weather, and
maybe the ancestry of the protagonist before you ever met him or her.

If you want to grab readers, focus on what we find most
interesting: people. Introduce us to someone who find intriguing, or lovable,
or mysterious, or fascinatingly evil. Make us wonder what’s going on with them.
Then, when you’ve hooked us, you’ll have the luxury of describing the setting
and other aspects of their lives.

Of course I’ve overstated the case; not every book needs to
start with a shocking or mysterious event featuring the protagonist, but many
writers err in the other direction, assuming that we’ll stick around to meet
the main characters once the authors have finished setting the scene.

(For friendly guidance on all aspects of writing, get a copy of my book "Your Writing Coach," published by Nicholas Brealey and available from Amazon or your other favorite bookseller.)

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Why to start your novel inside-out

Author and agent Chuck Sambuchino recently made an important
observation about modern novels: they should start inside and go out. In other
words, you start with a character and his or her actions and thoughts, and then
place them in a setting.

Many of the great novels—from a time when readers had more
time or at least more patience—started outside and then went into a character.
You’d have several pages of description of the landscape, the weather, and
maybe the ancestry of the protagonist before you ever met him or her.

If you want to grab readers, focus on what we find most
interesting: people. Introduce us to someone who find intriguing, or lovable,
or mysterious, or fascinatingly evil. Make us wonder what’s going on with them.
Then, when you’ve hooked us, you’ll have the luxury of describing the setting
and other aspects of their lives.

Of course I’ve overstated the case; not every book needs to
start with a shocking or mysterious event featuring the protagonist, but many
writers err in the other direction, assuming that we’ll stick around to meet
the main characters once the authors have finished setting the scene.

(For friendly guidance on all aspects of writing, get a copy of my book "Your Writing Coach," published by Nicholas Brealey and available from Amazon or your other favorite bookseller.)